A: Nikopoia, and its similar spellings, means "bringer of the victory." It is a Byzantine
type that appeared as an independent type of icon in the first half of the fifth century and counts as
one of the most loved types. The word Nicopeia indicates the place, Constantinople. There are
actually many different types. The early Byzantine and widely spread style usually shows Mary
seated on a throne in a frontal position with her feet on an imperial footrest. She is richly dressed
in purple and the costume of the empresses. Seated on her lap is the Child, whom she supports
with her left hand on the his left leg and her right hand on his right shoulder. This solemn and
majestic pose is often accompanied by two angels holding the orb and the scepter at either side
and as part of the frame.

The name "bringer of the victory" seems to have been attached to this form of icon after
Heraklios selected this image of Mary and the Child and named them his protectors when he
sailed from Carthage to Constantinople in 610 AD against. Heraklios left the image in
Constantinople after the victory. In 626, the siege of the Avaren and Slaves is said to have been
averted after prayer before this image. The image is also thought by many to have been the icon
given by Empress Eudokia to her sister-in-law Empress Pulcheria in the fifth century.

Whatever its actual origin, it became part of the Venetian loot when Constantinople was
sacked in 1204 during the fourth Crusade. The original disappeared after that. The Nicopoia in San
Marco is most likely a copy made after the difficulties with iconoclasm.
Mother of God of Arabia: "O All-Praised Mother"
End of the eighteenth - beginning of the nineteenth century
Church of the Prophet Elija in Cerkizov

The image type originated in connection with the Council of Ephesus (431 AD) and the
proclamation of Mary as Mother of God. According to N. Schmuck, in Marienlexikon,
the representation of the Virgin in major churches now appeared on the throne in place of images
of Christ, including domination of the central position in the apsis. In Constantinople, the
Blachernen Church is the first to have placed the image in the main apse.

Mother of God of Constantinople

In the Byzantine East, from the sixth century this type of image was dominant, often Mary
was surrounded by members of the imperial family and persons of episcopal leadership. She was
centered in the mandorla, flanked with palm branches, sign of victory and rule. After the battles
over iconoclasm, in place of the cross in the apse, in the second half of the
ninth century this
picture was erected in the Koimesis Church of Nikaia and especially in the main church of the
nation, the Hagia Sophia of Constantinople. This indicates how relevant this icon type was in the
Byzantine world. The gold traces of the crosses can still be seen. It is thought that by erecting the
icon the church was restored to the original image that had been present before iconoclasm.

The icon type appears in many varied interpretations from that point on. Many of the later
types show Our Lady and the Child cheek to cheek in the Eleousa form (Our Lady
of Tenderness). Mary in her loving relationship to Christ wins hearts and the
battle – whatever the battle may be – is won. Most of the representations have
smaller images acting as a frame around the main image. If there are twelve of
them, they represent the twelve major
feasts in the Byzantine liturgical cycle. The smaller images can be Mary in various relationships,
either with Christ, with persons of Sacred Scripture, and/or with political and ecclesial leaders.

Mother of God of Belozersk: "The Touch"
thirteenth - century Bielozersk near Vologda

There is a second strand of origin in the meaning of the image: in the adoration of the magi.
By isolating the central image  the Mother and Child  the Scripture passage is
recalled, "And when they had come into the house, they saw the young child with Mary his
mother and fell down, and worshiped him: and when they had opened their treasures, they
presented to him gifts; gold, and frankincense, and myrrh. (Matthew 2,11). The central theme of
the Nikopoios, then: They found him with Mary, his mother and they worshiped
him.The victories of life  political, governmental, ecclesial, personal  can be
obtained if the fundamental relationship to Christ, as Mary makes him central, is respected.

La Madonna Nicopeia
Tenth - century Byzantine
St. Mark's Basilica in Venice.
This clipping (date unknown) shows the image before and after a theft of the diamonds and rubies
decorating the image. The image is not thought to be the original taken from Constantinople, but
a copy painted over several times.

This page, maintained by The Marian Library/International Marian Research Institute,
Dayton, Ohio 45469-1390, and created by
J.C. Tierney
, was last modified
Wednesday, 10/13/2010 12:19:44 EDT
by
Ramya Jairam
. Please send any comments to jroten1@udayton.edu.